No idea what Bradbury is doing. Last I heard of Cohen was in that NY Times article she wrote.

So they appear to be free and they're FANTASTIC All My Children writers. If anybody from PP/TOLN/AMC is reading this: *hint, hint, HINT*

Toups, will there likely be more writers on each show?

I also like that these shows have small writing staff's of 5-OLTL & 6-AMC. I wonder if OLTL will add a sixth writer? Any intel toups?

I didn't know David Cherrill had been an actor too, All My Shadows. I don't see an IMDB acting credit for him. Who did he play on ATWT? Are you saying he was Tom Hughes?

David also went by "David Colson"

Toups, will there likely be more writers on each show?

I also like that these shows have small writing staff's of 5-OLTL & 6-AMC. I wonder if OLTL will add a sixth writer? Any intel toups?

Don't know. Aren't the shows only 30 mins long and 4 episodes a week? Having 3-4 staff writers is doable.

Honestly, even the network soaps could probably do better with a smaller writing staff. I don't understand the need for so many writers with budgets being smaller and quality going downhill. Soaps at their peak had anywhere from 2-5 writers and they had lots more restrictions in terms of technology. I hope the writing is good for both shows just to prove you don't need a large writing staff. I also hope the new blood on OLTL works out, because that's always a good thing for soaps.

I'll be intrigued with the new non-soap experienced writers on OLTL. From what I've researched, it appears that one of them was a writer's assistant at Royal Pain while the other only has one writing credit from 2009.

From what my friend tells me, a writer's assistant helps track continuity, take notes, and help out with writing scripts. So I think we should be fine with continuity then. Plus, I hear Royal Pain has some decent writing.

Ah, thanks, Toups! There used to be so many of these actors turned writers, it seems. Gary Tomlin himself is one of them too. It seems to have been less common in later years.

I remember Tom Wiggin trying to make that transition relatively later, but it didn't hold. I noticed Marie Masters wrote a lot for ATWT for awhile but that stopped.

David also went by "David Colson"

Edited February 25, 201312 yr by jfung79

Honestly, even the network soaps could probably do better with a smaller writing staff. I don't understand the need for so many writers with budgets being smaller and quality going downhill. Soaps at their peak had anywhere from 2-5 writers and they had lots more restrictions in terms of technology. I hope the writing is good for both shows just to prove you don't need a large writing staff. I also hope the new blood on OLTL works out, because that's always a good thing for soaps.

I wondered about this for a while and suppose it has to do with a writer's guild agreement regarding payment so that it is cheaper to employ more writers than have the same ones write more scripts?

Cause for instance, B&B for years had 3 script writers (one of them was Jack Smith who already responsible for the breakdowns) with an occasional interloper. For the last 10 years they've had 6 oder 7 script writers!?

Speaking of which: sad to see Theresa Zimmerman let go from Y&R. She's one of those Bell writers who worked themselves up in the rank, even though she's more a B&B writer. I must admit though that besides the ultra-corny Amanda Beall the dialogue is quite good on Y&R these days, even with the new hires.

Inside The Writers Room: February Edition

Ho many writers are on AMC 2.0 compared to the last year of AMC 1.0??

Ho many writers are on AMC 2.0 compared to the last year of AMC 1.0??

Just figure it out. 12 when it ended 6 now.

Honestly, even the network soaps could probably do better with a smaller writing staff. I don't understand the need for so many writers with budgets being smaller and quality going downhill. Soaps at their peak had anywhere from 2-5 writers and they had lots more restrictions in terms of technology. I hope the writing is good for both shows just to prove you don't need a large writing staff. I also hope the new blood on OLTL works out, because that's always a good thing for soaps.

The size of a staff doesn't really impact budget. Five scripts have to be written per week. They can be written by five different writers writing one each, or two writers writing three and two. Scriptwriters are paid per script. They're not paid as staff writers, getting a fixed salary per week. Same is true of breakdown writers. Where a budget can be impacted is if the co-head or co-heads write outlines themselves instead of hiring breakdown writers.

I wondered about this for a while and suppose it has to do with a writer's guild agreement regarding payment so that it is cheaper to employ more writers than have the same ones write more scripts?

Cause for instance, B&B for years had 3 script writers (one of them was Jack Smith who already responsible for the breakdowns) with an occasional interloper. For the last 10 years they've had 6 oder 7 script writers!?

Speaking of which: sad to see Theresa Zimmerman let go from Y&R. She's one of those Bell writers who worked themselves up in the rank, even though she's more a B&B writer. I must admit though that besides the ultra-corny Amanda Beall the dialogue is quite good on Y&R these days, even with the new hires.

B&B tapes eight episodes a week in four days. They need eight scripts in short order. Having more scriptwriters also keeps from overworking the scripting staff. When Smith wrote with only 2 other scriptwriters the show only needed five show per week because that's all they shot. It's all about a different production model. Shoot more show in less time and save money.

David Levinson replaced David Cherrill back in 2011...Interesting that they are swapping again. And this goes to show that Nelson Branco is wrong. He keeps claiming that Lorraine Broderick is DOOL headwriter and just not getting HW credit. I think he's wrong. She may be contributing and writing story with Gary and Chris as opposed to Dave Ryan and Ryan Quan who are probably getting a few breakdowns a month to write.

B&B tapes eight episodes a week in four days. They need eight scripts in short order. Having more scriptwriters also keeps from overworking the scripting staff. When Smith wrote with only 2 other scriptwriters the show only needed five show per week because that's all they shot. It's all about a different production model. Shoot more show in less time and save money.

Actually, the number of writers does affect the budget if it is bloated. Brad, Jack, Kay, Patrick and Michael at the top is way too much for the show, and costly.

Before 8/4, B&B either shot 5/5, 6/6 or 6/4 for years. Jack Smith and Tracey Kelly are also capable of writing two scripts a week with their eyes shut, and a third if necessary.

Actually, it doesn't surprise me that AMC brought back people who know the show if the HWs have never been part of the company before, and Sue Johnson is a surprise, but she was well liked at ABC. I believe she also has a writing degree, and was responsible for developing writing talent for ABC. The big, big question is did she believe all the bull#$^@ about only writing for those 40 and younger or was she just puking up the company line to keep her job. I suspect she wasn't actually a fan of Fronz.

I don't think she was either. I e-mailed back and forth with her a few times with over the years (yes she responded to viewer e-mails!) and while she was always very professional in what she said I definitely got the sense she was....frustrated I guess is the right word.

Also she was heavily involved in the interim period between Pratt and K/S, and again after the cancellation notice came down.